'The French artist Gilbert Peyre (born 1947) is impossible to classify: artist, inventor, D.I.Y. genius, mechanic or in the words of Ben Vautier a ‘Realist Tinquely’. But Gilbert Peyre really has nothing in common with any artistic movement at all. Since the beginning of the 1980’s he has enjoyed himself by endowing sculptures / objects with the ability to move which he shows in the window of his Montmartre studio before exhibiting them, for example, in the provinces, Paris (Centre Georges Pompidou, Halle Saint Pierre) and Berlin.
'In his own sculptur Opéras as well as in his plastic art installations Gilbert Peyre makes alive his wishing, tender, fragile, affecting machines and denounces with a humour tinted with surrealism the ridiculous agitation of our society which does not stop taking itself seriously. Successively Plastic Artist, Stage Director, Visionary, this unclassable artist is mixing with grace the technology, the drama, poetry, the absurdity, and with nothing, says all to us.
'Peyre is perhaps best known outside of France due to the prominent appearance of his mechanical devices in the films 'Delicatessan', 'City of Lost Children', 'Alien: Resurrection', 'Amelie', and 'Micmacs' by the director Jean-Pierre Jeunet. French art critic Gilbert Lascault says: "The cosmos of Gilbert Peyre is at the same time a museum of Arts and Métiers, an engine room, a funfair, a music hall, an opera, a spectacle of conjurer or magician, a phantasmagoria, a ceremony, a liturgy, a cavalcade, a procession, a zoo, a circus, an orgy, a mechanical comedy, a comical apocalypse".' -- Le Petit Festival du Theatre
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Gilbert Peyre's studio
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Selected works
'Mangemange' (2008)
'Haltérophile' (1987 - 1990)
'Ballerines' (2009)
'le distributeur d'idées' (2009)
'Rap Danse' (1998)
'l'ourson irrévérencieux' (2009)
from 'Issue de secours' (2008)
from 'Cupidon, Propriétaire de l'immeuble situé sur l'Enfer et le Paradis' (2009)
2 portraits of Gilbert Peyre (in French; 2009)
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p.s. Hey, what's up, etc., etc. ** Allesfliesst, You're back up here. Welcome back and/or my condolences. Yeah, in Paris it's been a super mild and doable summer as far as the sun goes. Poor Moscow, though. I'll definitely visit your gallery when I try to sneak into FB a little later. A pleasure, sir. ** Wolf, Hey. Yeah, understood and totally understandable. Like I said, re: Higgins, I admired his playing and style, and his occasional shittiness away from the table wasn't known to me until much later, and it has no impact on why I still admire what he accomplished. I think what irked me was the generalizing thing where his individual talent and the particulars of his problems got extracted, and you characterized him as just a faceless member of a crowd of a particular type of person you dislike. Having been attentive enough to know him as a distinct guy, player, artist, I resist the guilt by association thing, but you know that kind of thing is a beef of mine, for better or worse. Anyway, it was great talking this through with you, pal, and my respect, love. ** Saint-Amand, Hey. Great, very cool, thank you again. Oh, use this address: dcooperweb @gmail.com. It's more reliable. Tons of love in return. ** David Ehrenstein, 'Pages ...' would make a great film, yeah. Might not even lose too many key things in translation given the right vision. ** Alan, Well, then I'll make sure to say that more often, ha ha. No, thanks for that, Alan. ** Sypha, Glad you're going to get a nice little out of town vacation. Have I mellowed? Hm. As a person, I think I mellowed a bit when I vaguely swore off drugs in the early 90s, but I don't think I've mellowed much since then. As a writer, ... no, I don't think so. I think I just decided there were limitations to what I could pull off within an explicit presentation, i.e. that letter in 'Frisk', and I found that if I approached disturbing things in a more blended way or something, the result was truer. I mean, the relationships of my writing and my person to sex/violence have hopefully progressed since I see what a do as an evolving study in a way, but the devil lives, and there are things in 'The Sluts', for instance, where the approach I took in 'Frisk', say, shows up relatively whole hog. The Genet quote: it's from 'Prisoner of Love', and, more specifically, it was a note Genet made in the margins of the mss. of the novel that Edmund White noted/quoted in his introduction to the English language version. ** Edward Cole, Greetings, sir. Welcome, and thank you. Well, you're hardly a dollar short. That's a great list. You know, I've never read Alice Munroe, which is real bad. Were I start somewhere, where would you recommend? Btw, your blog is terrific. Everyone, clicking that link is recommended. Super interesting thing on Cassavettes, nice paens to 'Zardoz' and Mr. Waters, etc. Kudos, and please do hang out here whenever and as much as you like. ** Christopher/ Mark, Hey, Mark. Seems the word around here is quite poz on 'The Kids Are Alright'. It hasn't reached France yet, but I'm planning to catch it when it does. Your commenting neighbor Edward Cole wrote a thing about the film on his blog, if you want to use that link a few sentences back. ** Paul Curran, Now, that's what I like to hear. ** Joseph, Dude, you took the job. My imagination is thrilled for me, and hopefully for you. Bird house seller, I don't know, it has a lovely ring. Does that joint have a website where I can see what you'll be selling? Can 'Birdhouse Day' be far behind? ** Bernard Welt, You know what? I decided that Will Decker shouldn't be the only guy around here who Google-earths relevant locales, so I just delayed the p.s.'s arrival for a good twenty minutes, entered your coordinates, and did just that, and you call that waving? Where I grew up, we called it something else entirely. ** The Dreadful Flying Glove, You sold me on 'Mrs. Caliban'. Never read Rachel Ingalls. I know, I know. ** JW Veldhoen, My pool playing is so rusty, you're guaranteed to take our first dozen games at least. Never played chess in my life. Wouldn't know where to start. It's like checkers with an IQ, right? I know, I know. ** Steevee, Excellent that the Noe interview went so well. And very, very interesting info there re: the start of 'Irreversible' and so on. Especially about his almost having played the drug dealer in 'EtV'. That would have been quite a big shift. I guess our hero in that case would have slept with the character's wife instead of mom? I'm glad he decided not to take the part. That shot of the young drug dealer giving head in that swirl of foggy whatever is one of the film's most haunting for me. Anyway, thanks a lot for passing that along, Steve. ** Little foal, Hey, Darren. Wow, yesterday was very momentous. The way you forged adventurously through it speaks very highly. I mean, worst comes to worst, I think the failure of failing university courses is hugely overrated. I did when I bailed on my university, and the only consequential rub is that if I ever decide to teach at a university, my salary will be lower than if I'd dotted those i's. Precisely, about not letting your parents' expectations have that influence. If they're aren't 100% behind you being a writer now, they will be when you 'succeed' in the terms that writing seriously allows vis a vis success, or they will be behind in a qualified way at least. Confusion is the truth, or I think so, and you have this extraordinary talent as a writer, and so, in a profound if not yet peace-inducing way, you're set. You have the center that most people have to scramble to assemble. There's no way that your decision isn't the right one. A decision is a step, right? Seems to me your step is both logically and lovingly thought out. ** Statictick, You read last night? Wearing a tie? Report, please? Give me one more day to know for sure if I have the ACT pack or not. Yury was going to find my hidden mail last night and leave it on my laptop before he left for work, but he forgot. ** _Black_Acrylic, Excellent that SLB rightly dug your piece on her work and is up for a tete a tete. Of course I'm really, really pleased that you found 'TD,P' so admirable. Yeah, that really pleases me to hear that. Very cool, and thanks for saying so. ** David, Hey. Thanks a million for yesterday. I hope it was goodie for you. ** Rigby, No, I think you're right that making millions while helping the poor is just about capitalism's only sublime option. So, yeah, pull off whatever that mysterious thing may be. If the blog can assist, say it, just say it. ** Paul Joseph, Hey. German-only is still pretty roomy, and that period you're concentrating on is obviously a rich vein. Ah, agents and their silly notions of what won't sell, yes. If it weren't such an indiscretion, I could tell you the craziest stories about the ones that got away due to all that playing it safe. At the same time, the selling is how they make their living, blah blah. I think I might have mentioned this, but there are no literary agents in France. Writers submit directly to publishers, and it's always been that way, and there are no slush piles in which unknown writers' mss. are deigned to be hopeless cases from the outset, etc. If you can say, what indie presses are in your sights? ** Misanthrope, There was one photo in his ad -- I can't remember if I grabbed it for the escort post or not -- where his face was naked for all the world to see, and it isn't as problematic as one might imagine. I think he's probably self-conscious about his lazy eye, but it kind of suits him. Oh, right, I was in NYC for my last birthday. In my whatever about birthdays, I totally forgot. And it was even a nice one, thanks to you guys. Well, shut my mouth. Glad your mom's resting ... comfortably? I'm glad she's home. I'm glad she's on her way. All that good stuff. ** Inthemostpeculiarway, Hey, man. Glad the internet allowed for your return. There's this kid in the Recollets who mooches off the WifI signal coming from my laptop. His mom alerted me to his coopting of my signal a few weeks ago. Then the other night, she and he were walking down my hall at the same time I was, and she introduced the kid to me, and I said to him, 'Enjoy my internet', and he said, 'Sugar', which I found kind of sweet. Your last couple of days were really dreamy, like a dream sequence. They made me woozy in a nice way. Most of my last couple of days are a forgotten void now. Let's see ... worked on the novel mostly. I think I figured out a way to cut a fairly good chunk out of it that will not only save me a lot of time consuming work that I'm dreading but will help the novel too. I'm not sure if it'll work yet, but just maybe. I still haven't finished that interview, but I did finish that blurb. I went with Kiddiepunk, Oscar, and Oscar's sister to thing wherein one of the artists in residence here did a presentation of what she's here working on. It's a dance piece. She's a choreographer/dancer from Brazil. She danced a little and showed a video. It wasn't bad. While watching that, I drank some of Oscar's pear cider that she brought back from her recent road trip, and it was both delish and got me a little tipsy, but not in a flagrant way. The big controversy caused by the Christophe Honore film in which I do my little acting turn seems to have reached Paris 'cos a few people called to tell/ask me about it. Oh, I don't know. Everything else is a blank. How's Thursday working out for you? ** Laurabeth, Five years? Trippy. Wow. Time, you know, flies. Oh, don't feel guilty. My friendship is like an elephant's memory. Oh, yes, I did get your card! That was so sweet of you! Thank you, pal! The October reading is a totally public thing. I'm reading work of mine from the early to mid-80s in keeping with the birthdate of 'Them'. If there's a list to put you on, I will, although I don't expect there'll be throngs. Sometimes it feels like I'll be living here in Paris forever, and who knows, but that's not the plan at all. LA's home. I'm just being very realistic about the situation now, I guess. Anyway, come visit while I'm still hanging in here. Hm, interesting about that Leckie book. If I come across it, I'll crack its covers without hesitation. Thanks, Laura, and love. ** Bill, Two weeks, yikes. Wow, summer really is almost over. Time is really spooky unless you don't think about it. Ah, 'Geography of the Forehead', wonderful. If you ever see a cheap copy of 'The Father Poems', his first book, it's great and very rare, so grab it. ** 淑張福, Pluralizing that old saying is kind of interesting, I guess. You can do better, though. ** Syreearmwellion, Yeah, you have to careful who you badmouth Pantera around. I almost got in trouble once for rolling my eyes as I said their name. The really dangerous one is the Dead. I once kind of very gently questioned one minor decision by the Dead to a Deadhead, and the guy almost broke my jaw. I'm like 1000% percent behind your drunken art argument fiction insertion thing. That's just begging to get itself written, if you ask me. ** L@rstonovich, Dude, I'll shoot pool with you. Ooh, that 'House that Wouldn't Die' thing does look really good. I've got it on pause and gathering strength on a browser page right now. Everyone, courtesy of L@rstonovich, I bid you watch 'Dan Cruikshank and the House that Wouldn't Die'. Oh, the new TW album is about to drop? Awesome. Love the cover. You heard it yet? Thanks for both tips and for, hell, everything. ** Done. So, I mentioned here a while back in the p.s. that I saw and really liked a performance/ theater piece by Gilbert Peyre and, if you remember that, the guy up north is the same guy, and, if you don't remember, he's cool, and I thought you should have a shot at looking at his work. See you tomorrow.
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